Renaissance paintings such as A young Hare and Sistine Chapel Ceiling marked the turning-point from the Medieval Era to the early Modern Age in European. The creation of the paintings in 1502 and 1508 respectively, clearly marked the huge influence of the Renaissance sensibilities that are believed to have taken off in the early 16th century. This paper compares and contrasts A young Hare and Sistine Chapel Ceiling.
A Young Hare (fig. 1) is a painting that was made in 1502 by an artist known as Albrecht Dürer. The item measures 25cm by 23 cm and is available in a repertoire set up by the Graphische Sammlung, Albertina, Vienna (Nichols, 2013). The Northern Renaissance piece of art was created in the German artist’s workshop in 1502, and since then it has been popularly referred to as a classic example of an observational masterpiece. The English title of the item “The Young Hare” is ironically used to refer to the rather mature animal. Perhaps the German name “Feldhase” which literally means Field Hare is a more suitable title for the masterpiece. Durer made numerous visits to Italy from his homeland, Germany, during his long career perhaps to grasp and use some of the best qualities of Renaissance art in his work. Upon his comeback to Nuremburg in 1495, the artist opened a workspace where he made The Young Hare and several other items.
As Nichols (2013) has said, Durer created the painting using a combination of body colour or gouache and watercolour; materials that he is known to have used almost on every item he made. The painting portrays a lonely hare, which is a clear depiction of the confusion and gloom facing the ancient European society in the wake of a dying Medieval Era and the uncertainty of the philosophical influences of the early Modern Age.
Despite the solitary, thoughtful mood of the art, Durer managed to present a highly comprehensive and perfect depiction of a hare. The colour of the hare is a blend of